STRINGS ‘N THINGS: FALL 2015 OFFERINGS

AUER, Leopold (1845-1930) FRAMED SIGNED PHOTOGRAPH. New York, 1918. Visible image: 23.50" h x 19.25" w. Total size in contemporary mahogany frame: 29.75" h x 25. 50" w. Signed by both Auer and Mishkin. Excellent, pristine condition. The letter "T" in the inscription is a bit raised from Auer's having pressed his pen hard.

Extraordinary original photograph by Mishkin, signed in red crayon "Mishkin / NY" on lower left. The photograph is inscribed by Auer to the noted violin dealer Rudolph Wurlitzer on the lower right: "To Herr Rudolph Wurlitzer / L. Auer / New York 20/5 1918". Auer had just moved to New York earlier in the year and had given a concert in Carnegie Hall on March 23.

The one and only Leopold Auer - violinist, pedagogue, conductor and composer - is undoubtedly best remembered now for his unprecedented career as a violin teacher. Himself a pupil of the great Joachim, he taught among others Jascha Heifetz, Efrem Zimbalist, Mischa Elman, Kathleen Parlow, Benno Rabinof, Oscar Shumsky and Toscha Seidel. He joined the faculty of what became Juilliard in 1926 and in 1928 joined the faculty of the Curtis Institute of Music.

ALS-12201 $3,500.00

AUER, Leopold (1845-1930) PRESENTATION BATON. March 19, 1903. 16.75" long x 0.50+" wide. Fine condition.

Presentation baton given to the great violin pedagogue Leopold Auer by a mens' choir. Ebony with sterling silver ferrule, end piece and metal lyre decoration on top. Inscribed to "M. G. Leopold Auer", "Männerchor". The endcap bears the etched initials "F.B." (possibly the maker?) ODA-12383 $300.00

BAZZINI, Antonio (1818-1897) AUTOGRAPH MUSICAL QUOTATION, "CAUSERIE - MORCEAU DE SALON", signed "A. Bazzini". Inscribed "Souvenir à Mr. Ries". June 30, 1854. 8" h x 10.5" w on brown stock. Fine, save for a tiny chip on upper right hand corner.

Attractive six-bar musical quotation, scored for piano and violin, and entitled by Bazzini "Causerie - Morceau de Salon." It is dated underneath on a staff line followed by the signature.

Bazzini toured extensively as a violinist, then taught at the Milan Conservatory from 1873 and became its director in 1882. As a composer, he wrote mostly for the violin but also wrote an opera and several symphonic works. This quotation is from one of his numerous salon pieces and is inscribed to M. Ries, undoubtedly a member of the large family of musicians by that name.

AMQ-08210 $375.00

BEETHOVEN VIOLIN CONCERTO CANDENZAS Trois Cadences pour le Concerto de Violon, Oeuvre 61 composés par H. Vieuxtemps; 3 Cadenzen zu L. van Beethoven's Violin-Concerto….von Joseph Joachim; Cadenzen zum Beethoven'schen Violin-Concert von Ferdinand David. Paris, Offenbach; Vienna, Haslinger; Breitkopf & Hårtel. Early engraved editions. quarto. 7, 4 and 5 pages. Soft red mottled boards with taped spine. Edges of binding a little ragged, a few slight soilings from thumbing and a few only penciling.

CADENZAS BY VIEUXTEMPS, JOACHIM AND DAVID

Three cadenzas from three master violinists for one of the greatest of all violin concertos.

MUS-12318 $275.00

BULL, Ole (1810-1880) ENGRAVED PORTRAIT. Total size in mat: 15" h x 12" w. Fine (extremely slight foxing).

An attractive portrait of the youthful "Norwegian Paganini" shown holding his violin. It is "drawn from the life" by E.T. Parris, with Bull's facsimile signature under his image. Published by Charles Tilt in London, 1836. GPH-12348 $150.00

CASALS, Pablo (1876-1973) AUTOGRAPH SIGNED MUSICAL QUOTATION, signed "Pau. Casals". 1927. Album leaf measuring c. 6" h x 7.75" w. 1p. Excellent condition with minor transfer showing from previous page.

The great cellist has penned a two-bar quotation from a Bach Suite - Casals championed these pieces when they were still relatively unknown to the public and they became closely associated with his performances.

The verso is signed by the violinist Nathan Milstein: "N. Milstein, B. Aires 1937"

AMQ-12358 $675.00

CELLO - AN ODDITY OF NOTE - PRACTICE/TRAVEL INSTRUMENT German. Very late 19th-century or early 20th. Full-sized cello. Case measures 40" l x 7.50" w x 7" deep on one end and 5" deep on the other end. Overall excellent condition save for small repaired cracks at both upper corners on top and a little rubbing in a few places along edges and back where it would have been set down.

An unusual and rare instrument made towards the end of the 19th-century in Germany, being a cello "base" plus parts that once assembled creates the size of a full-sized cello. The body is of narrow-flamed maple. The ribs, one-piece back and scroll are of attractive wide-flamed maple. Inlaid ebony purfling. The permanently- attached end piece bears a paper label marked "P./Patent/382/T.W.W." The instrument is assembled as follows: a curved piece of maple has two wooden pegs which attach to the upper back to obtain the normal depth of a full-sized cello. A similar piece with a permanent piece curved like the side of an instrument and another folding flange on the other side attaches to the bottom of the end piece and enables the player to have the full width of a normal instrument. The wooden end piece is attached through this last piece, held by screwing it in as well as two pins.

The instrument comes with its own heavy, black wooden case with blue felt lining and inside attached metal container (presumably for strings or rosin) and leather handle.

We have never had or even seen another instrument like this.

INS-12417 $3,750.00

CELLO - OIL PAINTING MICHEL-LÉVY, Henri (1845-1914) OIL PAINTING STILL LIFE WITH CELLO AND MANDOLIN. C. 18" h x 14" w. In an ornate gold frame with a total measurement of 24" h x 21" w. Frame has a plaque with the artist's name and dates (1849-1914). Attractive appearance and in overall good condition except for a few minor paint blemishes and retouching. The painting is lined. Signed by the artist on the lower right.

The French painter and sculptor Henri Michel-Lévy was a pupil of Félix Barrias and Antoine Vollon. He exhibited at the Salon in Paris regularly between 1868 and 1914. He was a great friend of the Impressionists, and a portrait of him painted by Degas can be seen in the Gulbenkian Foundation in Lisbon. GPH-08960 $3,000.00

CERVETTO, Giacobbe (1682-1783) MEZZOTINT PORTRAIT. London, 1771. Total size with mat: 20" h x 16.25" w; measurement to the plate: circa 14" h x 10" w. Overall excellent with a few minor blemishes.

A fine, original and scarce mezzotint portrait of the Italian cellist Giacobbe Cervetto, who was known also by the name of "Ceruetti" and who lived to the ripe old age of 101. Cervetto also composed for his instrument. He was one of many London-based Italians who brought the cello into favor in England. The portrait is by M. A. Picot after the painting by Zoffini. GPH-12345 $650.00

. DAVIDOFF, Karl (1838-1889) AUTOGRAPH LETTER, signed "Karl Davidoff". To "Dear Mr. Senf". 15/27 April. Octavo. On 1p. of a folded sheet of lined paper with return address on verso. Fine condition (vertical creases). With translation.

The famous Russian cellist is writing, in German, to the publisher Senff in Leipzig: I took the liberty at present of sending you from Berlin corrections for....Petersburg, in order to expedite your kind forwarding of them to Musici A [?]. The corrections, although already submitted in February, have still not arrived. Please have the great kindness of informing Reval or me whether you received corrections at all and whether you sent them off. With many apologies."

Karl Yulievich Davidoff was the most acclaimed cellist of his time, and was called the "star of cellists" by Tchaikovsky. Davidoff was also a composer, mainly for the cello and was the director of the Conservatory in Moscow.

Davidoff's celebrated 1712 Stradivari cello, now known as the "Davidoff" (later owned by Jacqueline du Pré and loaned to Yo-Yo Ma) was presented to him as a gift by its owner, Count Wielhorsky, who pronounced " …I cannot imagine anyone playing [it] better than you."

ALS-01459 $275.00

DIDEROT ET D'ALEMBERT VIOLIN PLATES, SET OF 3. In matching mats, each having a total measurement of 19.50" h x 14.50" w. Clean and crisp but each with a small worm hole on the left plate mark.

Engraved first-edition plates from the 18th-century Encyclopédie of Diderot and d'Alembert, which was produced over 20 years from 1751 to 1772 with first editions appearing in both Paris and Amsterdam. Plates such as these are held in great esteem for their accuracy.

Plates 11, 12 and 13 of the lutherie section showing stringed instruments in the first plate and instrument-making tools in the second and third plates.

GPH-12207 $500.00

DOUBLE BASS MINIATURE Total length: 9" + 0.75" end pin; width at widest point of lower bout 3.25". Excellent condition (a few places very slightly rubbed on edges).

A fine German four-string to-scale miniature double bass dating from the first half of the 20th century. Spruce top, inlaid purfling, two-piece finely flamed maple back and maple sides. Ebony fittings with brass machinehead tuners.

Miniature double basses are quite uncommon.

ODA-12416 $1,200.00

FRANCESCATTI, Zino TYPED LETTER, signed "Zino Francescatti". Sept 27, 1976. 11" h x 8.5 w. 2 pp. With envelope. Fine.

A letter to the noted pedagogue Josef Gingold from his friend the famous violinist Zino Francescatti, regarding the possibility of Gingold accepting the young violinist Nina Horton as a student. A nice association of two of the finest violinists of the 20th century. ALS-08142 $250.00

GERARDY, J. (1878-1929) AUTOGRAPHED SIGNED LETTER, signed "Jean Gérardy". To Milly B. Stanfield. London. 1 page on small stationary. Good except for horizontal and vertical marks from folding.

A very nice note in French to the cellist Milly B. Stanfield. Gérardy is using his concert agent's stationary to respond. He writes "Thank you infinitely for your good wishes which gave me a lot of pleasure and I will be very happy to thank you in person at the concert on February 25th at St James Hall."

The noted Belgian cellist who at the time was considered possibly the foremost cellist in the world is writing to Milly Stanfield who later became a cellist and author as well as a close associate of both Pablo Casals and Maurice Eisenberg.

ALS-12342 $135.00

GERSHWIN TRIBUTE TO FAMOUS VIOLINISTS GERSHWIN, Ira (1896-1983) TYPED LYRICS. Small letterhead and standard size yellow paper. 2 pp. Letterhead is fine except creases from paper clip. Yellow sheet has a few small tears along edges and a paperclip crease.

A delightful and hilarious set of lyrics reading in part "Other fiddlers are just piddlers, Anyone can see…" "High-brow yes - but He-brow too are Mischa, Yascha, Toscha, Sascha".

Evidently an early and shorter draft of the famous song Mischa, Jascha, Toscha, Sascha, composed of 3 verses written by Ira Gershwin about the four great Russian Jewish violinists of their time: Mischa Elman, Jasha Heifetz, Toscha Seidel and Sasha Jacobsen. The Gershwins apparently wrote the song in 1921 for a party hosted by Jascha Heifetz and reportedly George Gershwin frequently sang and played it at parties, particularly when any of the violinists who inspired the song was present.

ALS-12440 $450.00

HILL, W. Henry and Arthur F. HILL and Alfred E. HILL Antonio Stradivarius: His Life and Work (1644-1737), with an Introductory Note by Lady Huggins. William W. Hill & Sons: London, 1902. Deluxe FIRST EDITION, no. 54 of 100. Grained half- leather with raised bands and gold tooling, green buckram boards. Folio. 303 pp. 27 color plates and numerous b/w illustrations. Half-leather, cloth boards. Fine, spine a bit rubbed. Slightly cocked.

An excellent copy of the rarest of the Hill's remarkable tomes on violinmakers.

BKS-09504 $3,200.00

JOACHIM, JOSEPH RARE MEDALLION PORTRAIT. Vienna, 1902. 2.5" h x c. 3.75" w. Excellent condition.

A rare and unusual medallion of Joachim shown playing his violin in front of a music stand with candles. Engraved by Fridrich Kounitzky after the 1898 portrait by the Austrian artist Ludwig Michalek (1859-1942). Niggl #967.

It is extremely unusual to see a medallion that is not a head portrait and furthermore, a portrait of a musician during performance.

ODA-12320 $400.00

KNEISEL, Franz (1865-1926) ENSEMBLE WITH AUTOGRAPH MUSICAL QUOTATION & PHOTOGRAPH, signed "Franz Kneisel". Matted with a reproduction photograph. Total size in mat 14" h x 9" w. Fine condition.

4-note chord (4 Gs), with notes then written separately with fingerings.

Franz Kneisel played a leading role in American music as a soloist, chamber player and important pedagogue and has been called the "Father of American Chamber Music." When he was barely 20 years old, he was engaged as concertmaster of the Boston Symphony Orchestra. He had a long career with the BSO, giving many solo performances, including the first American performance of the Brahms Violin Concerto. His summer violin school in Blue Hill, ME continues to this day.

AMQ-08761 $225.00

KOLISCH, Rudolf (1896-1978) AUTOGRAPH MUSICAL QUOTATION, signed "Rudolf Kolisch". July 9, 1969. 3.5" h x 6.5" w. Large piece missing from upper left hand corner only slightly affecting clef.

A long 17-bar quote written in the treble clef for violin in blue ink. On the verso in another hand, someone has marked "7/9/69" in pencil.

Rudolf Kolisch was a noted Viennese violinist and leader of string quartets, including the Kolisch Quartet and the Pro Arte Quartet. He was a major advocate of contemporary music between the two world wars.

AMQ-08216 $125.00

KOUSSEVITZKY, Serge (1874-1951) SIGNED LETTER TO PERSINGER REGARDING RICCI, signed "Serge Koussevitzky". To "Dear Mr. Persinger". Boston, January 23, 1938. 11" h x 8" w. 1 pp. Three folds, otherwise good condition.

The famed conductor Koussevitzky sends his regrets to the violinist Louis Persinger that he cannot engage Ruggiero Ricci as a soloist on the upcoming season.

Persinger, who was concertmaster of the San Francisco Symphony and took over Auer's class at Juilliard, is perhaps best remembered now as the teacher of both Ricci and Menuhin when they were child prodigies.

ALS-11342 $400.00

KREISLER, Fritz (1875-1962) SIGNED PHOTOGRAPH. Decoratively matted with a total size of 12.5" h x 10.5" w. Small abrasion by his ear, otherwise in fine condition.

Head and torso shot of the great violinist cleanly signed "Fritz Kreisler" underneath. PHO-11222 $350.00

KREUTZER SIGNED BY MASSART KREUTZER, Rodolphe (1766-1831) Concertos No. 10 and No. 11 for Violin. No. 10 retains the title page as follows: Concerto de Violon Composé et Dédié Aux Amateurs par Rodolphe Kreutzer. Pleyel: Paris, [1803]. , PN 290. Large quarto. Complete set of 9 engraved parts. Probable First Edition. Concerto No. 11 has 14 engraved parts and bears the PN 440. Both are in an original blue paper wrap signed "L Massart". A few stains here and there but overall in fine, crisp condition. Blue wrap is a bit tattered with frayed edges and spine fold.

These two Kreutzer concertos were formerly in Massart's library and appear together in a folder entitled in ink in his handwriting, "11eme Concerto de Kreutzer Orchestre", and signed "Massart". Massart has signed the title page of the first violin part "L Massart" in blue ink as well as "J L Massart" in pencil above that and penned each of the orchestra parts with the names of the pertinent instrument. Concerto No. 10 bears autograph markings in both pen and ink which include a major cut as well as dynamics and tempi indications. This can be considered an historic copy with a direct connection to the composer.

The violinist, composer and conductor Rodolphe Kreutzer was one of the founders of the French school of violin playing and a foremost musician of his day. Beethoven, whom he met in 1798, admired his playing more than any other virtuoso and dedicated his Sonata in A Major for Piano and Violin, Opus 47 to him – now known as the Kreutzer Sonata. Kreutzer wrote 40 etudes and 19 violin concertos as well an important violin method and the "40 Etudes" are still standard exercises.

The Belgian violinist Joseph Lambert Massart (19 July 1811 – 13 February 1892) studied with Rodolphe Kreutzer and compiled The Art of Working at Kreutzer's Etudes. He excelled in chamber music and performed Beethoven's Kreutzer Sonata in A minor with Franz Liszt on 23 May 1843. Among his pupils were Fritz Kreisler, Eugène Ysaÿe and Henryk Wieniawski.

MUS-12317 $650.00

KUBELIK, Jan (1880-1940) SIGNED PHOTO, signed "Jan Kubelik". Inscribed to Mr. Boyd. March 23. Very good.

A youthful image of Kubelik shown in handsome stance with hands in pockets. On thin paper with red tint. Printed for the supplement to the Milwaukee Sentinel on March 2, 1902.

One of the foremost violin virtuosos of his day and a composer, writing 6 violin concertos, a symphony and some chamber music. Kubelik was also the father of conductor Rafael Kubelik.

PHO-11233 $150.00

LIPINSKI, Karol (1790-1861) AUTOGRAPH MUSICAL QUOTATION -- "CONCERTO MILITAIRE", signed "Karol Lipinski". Dresden, March 8, 1852. Octavo. Measures 7.75" h x 6.25" w. Excellent condition, save for a little toning towards edges (from previous framing). Laid down.

A handsome 12-bar quote from Lipinski's major work, the Concerto Militaire, Op. 21 (composed 1834).

Lipinski had a major solo concert career and in 1839 took the influential post of concertmaster at the Court Orchestra in Dresden. He was a friend and rival of Paganini who said of him "Lipinski is the second greatest violinist in the world". In a remarkable gesture, Paganini left a 1730 Guarneri violin to Lipinski in his will. Among Lipinski's pupils were Joachim and Wieniawski. Schumann dedicated his "Carnaval" to him.

Lipinski autographs are rare, but autograph quotes excessively so.

AMQ-01708 $1,750.00

MARETZEK, Max (1821-1897) SIGNED LITHOGRAPH PORTRAIT. Stuttgart, 1855. 14+" h x 11" w. Overall very good, although slightly foxed and soiled.

A portrait by Christian Pfann, a well-known lithographer, of Maretzek in his youth, shown seated holding his violin and bow. Maretzek has inscribed and signed the portrait August 1855 (the same date as the lithograph).

Max Maretzek was a Moravian-born composer, conductor, and impresario active in the United States and Latin America. He associated with von Bülow, Wagner, Liszt, Offenbach and Strauss. He wrote two operas as well as his memoirs and played the violin in orchestras in both Germany and England. Coming to the United States in 1848, he became musical director at Edward P. Fry's Astor Opera House in New York.

GPH-12343 $160.00

MENUHIN, Yehudi (1916-2003) RARE EARLY MENUHIN PHOTOGRAPH INSCRIBED TO PERSINGER, signed "Yehudi Menuhin". New York, 1927. 7.5" h x 9.5" w in mat with a total size of 13.5" h x 15.5" w. Excellent condition except for a few very minor imperfections.

A wonderful Lumière photo of the youthful Menhuin at age 11 seated at a table pensively gazing at his violin and bow, which are resting on a score. He has inscribed it "To my dear master, Louis Persinger, with much affection and admiration, from his loving pupil Yehudi Menuhin, November 29, 1927, New York, N.Y."

Menuhin's primary early teacher was Louis Persinger who, in 1915, had been appointed concertmaster and assistant conductor of the San Francisco Symphony. Menuhin left studies with Persinger in 1926 to study in Europe with Ysaÿe. In fact, the meeting between Menuhin and Ysaÿe was not a great success and Menuhin went on to study with Enesco.

PHO-11229 $1,250.00

MISCHAKOFF, Mischa AUTOGRAPH LETTER TO GINGOLD, signed "Your friend, always, Mischa". To "Dear Joe". 10/21/1968. 1 page on small stationary. Fine condition.

Mischa Mischakoff was an outstanding violinist who, as a concertmaster, led many of America's greatest orchestras from the 1920s through the 1960s. Friendly letter to the pedagogue Joseph Gingold written at the time of his retirement from the Detroit Symphony Orchestra in 1968. In part,

"I am very happy not to play in an orchestra anymore." [He later did perform with the Baltimore Symphony Orchestra] "I don't seem to be able to slow down - the only thing I cannot do as I used to - is practicing much. But, I can do well enough with little practicing - after all I am learning Bartok or Prokofieff concerti!"

ALS-08734 $150.00

MOLIQUE, Bernhard (1802-1869) AUTOGRAPH LETTER, signed "Bernhard Molique". To "My Dear Piatti". Jun. 1, 1863. One page on small stationary (12vo). Fine except for one pencil mark on far right.

The German violinist and composer Molique is writing to the eminent cellist Alfredo Piatti in regards to his desire to have one of Piatti's pieces performed. He writes, in English: "We have only to try a Quintet by Spohr, and if the day and hour suits you, I will ask Sig. Randagger to rehearse your Fantasie". Molique studied with Spohr and was a member of the orchestra of the Theater-an-der- Wien and concertmaster of the Munich Court Orchestra. Alberto Randegger (1832-1911) was an Italian-born composer, conductor and singing teacher, best known for promoting opera and new works of British music in England during the Victorian era and for his widely used textbook on singing technique.

ALS-01436 $400.00

MORINI, Erica (1904) ENSEMBLE WITH SIGNATURE AND PHOTOGRAPH, signed "Erica Morini". September 14, 1931. 13.25" h x 14.25" w.

Attractively matted with a contemporary photo capturing Morini in performance. Born in Vienna where she was a child prodigy, Morini first came to America in the 1920s and performed most of her notable career in the U.S. SIG-07984 $175.00

MÜLLER QUARTET EXCEPTIONALLY RARE AUTOGRAPH MUSICAL QUOTE. April 18, 1838. 7.75" h x 10" w. Pristine condition on lovely paper with an embossed decorative border.

A beautifully penned, substantial 18-bar musical quote from Beethoven's String Quartet No. 7, with hand-drawn staves.

The Müller brothers were a family of celebrated quartet players famous for the perfection of their ensemble playing. They were the sons as well as pupils of the principal musician to the Duke of Brunswick. Carl Friedrich (1797-1873) was first violin in the quartet and was also concertmaster to the Duke. Theodor Heinrich (1799-1855) was the viola player. August Theodor (1802-75) played the cello, and Franz Ferdinand Georg (1808-55) was the second violin.

The Müller brothers resigned from the Duke of Brunswick's employ in 1830 because the Duke forbade them from appearing in outside musical performance of any kind. Their first appearance outside Brunswick was in Hamburg, where they were so successful that an invitation to Berlin followed, where they were again met with wide admiration. Several tours abroad extended their fame throughout the world. The Müller brothers brought the art of quartet playing to a new high.

This is the only musical quote we have ever seen by the Müller Brothers.

AMQ-12361 $1,250.00

NACHEZ, Tivadar (1859-1930) AUTOGRAPH MUSICAL QUOTATION, signed "Yours Faithfully, Tivodar Nachez 1898". 7" h x 4.5" w. Overall very attractive; signature slightly smudged, slight fold, very slight darkening of paper on upper left corner and across fold and minor ink strike through signature.

Treble line; three-bar musical quotation with lyrics. Nachez has identified the piece as being "Thoughts of You" under which he has penned his initials "T.N." and written the publisher's name "Rob. Cocks" next to "Thoughts of You".

Nachez was a Hungarian violinist and composer (including two violin concertos and a symphony).

AMQ-08220 $150.00

NERUDA, Wilma (1838-1911) PHOTOGRAPH, signed both "Wilma Hallé" & her married name "Norman Neruda". 9.5" h x 7" w. Mounted on cardstock, as originally presented.

Sepia photo of Neruda standing, holding her violin. A stunning photograph and uncommon.

Neruda, originally Bohemian, was married to the German-English conductor Charles Hallé and, upon his being knighted, she became Lady Hallé. The Swedish conductor and composer Lugwig Norman was her second husband. Joachim was a great admirer of Neruda's and wrote in 1870 to his wife that "Her playing is more to my taste than that of any other contemporary - unspoilt, pure and musical". She was enormously popular in England and is reportedly the first woman violinist to play chamber music professionally with men.

PHO-07391 $600.00

PAGANINI, Niccolò (1782-1840) RARE ENGRAVING OF A PAGANINI IMPERSONATION. 1831. 8.5" h x 11" w to the plate. Total size in frame: 15.50" x 17.75" w. Overall fine condition with the exception of a few very minor blemishes and slight toning of the margins.

A colored copperplate engraving entitled "Der Falsche Paganini" ("The False Paganini") by Andreas Geiger (1765-1856) after Johann Christian Schoeller (1782-18510). The engraving depicts a comic actor named Wilhelm Just in a one-act impersonation of Paganini called "Der falsche Paganini/Parodie in einem Akt/Der falsche Virtuose produzirt sich in China". The production was a revival of a popular one-act farce by Adolf Bäuerle entitled "Die Falche Primadonna in Krähwinkel", written originally as a take-off on the singer Catalani. The play was produced in Breslau during Paganini's first German tour in 1829.

Apparently there was some sort of a clash between Paganini and the German public, engendered probably by a misunderstanding at his first concert in Breslau, given at the University; an unpleasant episode developed with students shouting and booing because they thought he was not performing according to the requirements. (for a full account of this, see de Courcy, Vol. I, p. 348). It was after this that "Der falsche Paganini" appeared, to be followed by yet another parody, this one written by a friend of Wagner, Heinrich Laube (under pseudonym of W. Campo), who was the editor of the "Zeitung für die Elegante Welt". It was called "Niccolò Paganini" and again Wilhelm Just performed. We do know that Paganini attended at least one performance and apparently enjoyed it: according to the Frankfurt correspondent of "The Harminicon" Just mimic[s] The Italian Virtuoso to a T. Paganini, instead of attempting to cut the poor mimic's throat, as most of your sensitive artists would have done, had the good taste, not to say good sense, to attend one of these performances and join in the general laugh with the best grace in the world."

This engraving is extremely rare. This is the first time in almost forty years that we have seen a copy.

GPH-11240 $600.00

PAGANINI BRONZE MEDALLION PAGANINI, Niccolò (1782-1840) 1831. 2.13 in (55 mm) diameter. Fine condition (with tiny dent in one place on rim).

Rare medallion by the noted Swiss sculpter-engraver and medalist Antoine Bovy (1795– 1877) struck in commeration of Paganini's debut in Paris. Stamped "A. Bovy F."

A wonderful and very rare medallion showing Paganini in profile on the front, and on the verso is a reference to Paganini's famous "Air on the G String" with an eagle holding a single-stringed violin and clasping the bow with his claw.

Paul Niggl No. 1553. Neill p. 391.

ODA-11072 $2,500.00

PAGANINI, Niccolò (1782-1840) Capricci per violino solo / Composti e Dedicati Agli Artisti. Ricordi: Milan, [1820]. , PN 403. FIRST EDITION, with the price as "Lir 9. Ital.e". Large Quarto. 46 pp. plus titlepage. Contemporary soft covers, with English title. Handsomely boxed in brown silk with marbled paper interior (modern). Internally a bit soiled with occasional foxing, some pages slightly cropped along right margin but not affecting music, pages bent from thumbing. A moderate amount of pencilled fingerings. Title page quite soiled and has original stitching and contemporary reinforcement. Early paper wraps with label, quite soiled and tattered along spine and edges. [Fuld, 455].

Paganini composed his epoch-making work from 1801-1807. The Caprices were the inspiration for the nineteenth-century instrumental virtuosity of Liszt, Schumann and Brahms, all of whom made piano versions of some of them. This copy was owned by C.A. Seymour, a violinist at London's Royal Academy of Music and whose autograph signature appears on the upper right hand corner of the title page. On the left is written: "The gift of N. C. Bochsa Esq", referring to the somewhat notorious composer and harpist Nicolas-Charles Bochsa, whom Seymour must have known as a colleague at the Royal Academy. Bochsa helped found the Royal Academy of Music in 1821, and became its secretary, also teaching harp. Previously he had been working in Paris, as court harpist to Napoleon and writing operas for the Opéra-Comique. He was convicted for fraud and counterfeiting in 1817 and fled to England. When his criminal conviction was revealed in 1826 he was forced to resign from the Royal Academy, moving on to an important career and other scandals including running off with the opera singer Anna Bishop, wife of the composer Henry Bishop.

MUS-07374 $10,500.00

PIATTI, Alfredo (1822-1901) AUTOGRAPH SKETCHBOOK, signed "Alfredo Piatti" on the titlepages of two works. Oblong octavo. 118 of 158 numbered pp. Contemporary marbled boards, spine worn, loose in binding, some leaves removed, one leaf with a section torn off the top. In a custom-made brown marbled modern box with black cloth spine (box cover rubbed in two places).

A personal sketchbook of the renowned Italian cellist, containing the solo part of his "Concerto per Violoncello, Op. 1", "Fantaisie Variée sur des motifs de Beatrice Senda, Op. 2", "Andante e Variazioni sopra un tema dell' Opera Lucia di Lammermoor, Con accompagnamento d'Orchestra, Op. 4", a few other complete works and many ideas and sketches for other original compositions, mostly for cello or cello and piano, but also including a few works for voice and accompaniment and one for violin, voice and piano. One sketch appears to be an arrangement for cello of a Beethoven sonata. Many pages contain deletions and corrections and most of the material is apparently unpublished.

Piatti had a long and influential career. He was a friend of many of the most prominent musicians of his day, including Mendelssohn and Liszt, who presented him with a Nicolò Amati cello [he later performed on the Stradivari now named after him]. He was the cellist of the Joachim Quartet from its inception in 1859 and, in addition to performing and composing, was a teacher, both privately and at the Royal Academy of Music. Piatti performed up until three years before he died at the age of 79. This rare sketchbook is very probably the only one of its kind in existence.

MAN-05810 $12,500.00

POPPER, David (1843-1913) AUTOGRAPH LETTER, signed "D. Popper". To "Dear Friend". Jan. 1, 1865. 8.5" h x 5.5" w. 3pp. on elegant blue stationary with his embossed name. A few almost imperceptible spots from fading, but overall excellent condition and appearance.

Playful, chatty letter to a friend including sending the "requested Albumblätter" and mentioning a Beethoven celebration. In a postscript he writes: "Be solid and devout! like me!"

David Popper was the son of a Kantor in Prague and became one of the leading cellists in Europe, at one time being the Principal Cellist of the Vienna Hofoper. A member of the Hellmesberger Quartet and later the Hubay Quartet.

ALS-10262 $250.00

POWELL, Maud (1868-1920) IMPORTANT ALS RE MAX BRUCH AND RECORDING, signed "Maud Powell". July 12, 1911. Octavo. 4 pages, with its original envelope. Excellent condition.

An extraordinary letter in which the important violinist Maud Powell describes Max Bruch's reaction to the very first recording of any of his works. The letter is written to the American music critic Arthur Abell who spent twenty-eight years in Germany as the correspondent for the Musical Courier and personally knew such musical luminaries as Bruch, Richard Strauss, Brahms and Joachim.

In part, the letter reads "That large picture of your guests at the Nordica reception[Lillian Nordica, the great soprano] was most interesting. I recognized many well-known and distinguished faces. Seeing yours and Mrs. Abell's (how well she looks) reminded me that I was going to write to you about the Bruch premiere (the Konzertstück). I wish the venerable Meister could have heard the way the very genuine applause it aroused - it would have warmed the cockles of his heart. The performance was a good one, the orchestra being particularly well- balanced with many niceties well brought out. "The Little Red Lark" (as the Adagio movement is known) found its way direct to the hearts of its listeners. I am altogether well pleased that it fell to my lot to be the first to produce such an agreeable work. It is so truly Bruchian, the Adagio, that I was tempted to play a portion of it for the Victor machine. This has horrified the good Doctor, who seems to feel that it may do him harm! Conditions are so different in the States, the musical ditto in Germany, that I dare say he cannot be made to realize that the influence lies the other way around. By making a saleable record of a good piece of music, the composer of that music helps the people! While the few people who might judge critically understand the limitations of the machine!"

Christopher Reed, in his book Max Bruch, His Life and Works (1988), writes: "The American violinist, Maud Powell, gave the premiere (of the Konzertstück) at the Norfolk Festival in Connecticut on 8 June 1911. Her association of it brought about the first recording of a composition (albeit in part) by Max Bruch. Bruch's response was one of disapproval, though probably more of making a cut than opposing the making of gramophone records…."I had not expected it of Maud Powell that she makes cuts. At first she cabled me after the first performance, "great success". But then she writes to me that she cannot play the Konzerstück in orchestral concerts next winter because it ends with an Adagio (hear hear!!!). She has also played the Adagio alone, half of it cut, into a machine (!!!). I told her a few truths!"

Considering the date of the recording, 1911, this letter must be considered an incunable of the industry. Cutting the music to make it fit onto a four-minute disc was fairly common at that time (the English violinist Marie Hall recorded a cut version of the Elgar concerto in 1912.)

ALS-05526 $1,350.00

PRIMROSE, William (1903-1982) AUTOGRAPH LETTER, signed "Ever, Bill". To the pedagogue Josef Gingold. 11/13/1951. 2 sides of a very small sheet of stationary. Excellent condition. Envelope included.

A touching and sad letter informing his good friend and colleague Josef Gingold of Primrose's wife's illness ("again stricken by the dreadful lung sarcoma…") and her present care.

The Scottish violist and teacher William Primrose was widely considered one of the foremost violists of his time and known for his incredible technique. The eminent violinist Mischa Elman is said to have exclaimed after hearing Primrose perform Paganini's difficult violin caprices on viola, "It must be easier on viola!"

ALS-08727 $75.00

RABIN, Michael (1936-1972) AUTOGRAPH LETTER, signed "Mike". To "Dear Mr. & Mrs. Gingold". April 10, 1951. 7.5" h x 6" w with original envelope. 1 1/2 pp. on his New York letterhead. Fine.

The astounding violinist Michael Rabin who died at a tragically-young age, is writing to one of his teachers Josef Gingold: "It was an unforgettable experience for me to play with the Cleveland Orchestra, with such a marvelous conductor, and such a wonderful concertmaster… Also I should like you to know how very thrilled I am with the Paganini picture. It was swell of you to present it to me, and I assure you that I appreciate it very much, and am very grateful to you".

At the time of this letter, Rabin was just 14 years old and had given his Carneigie Hall debut the year before playing the Vieuxtemps Violin Concerto No. 5, one of the same pieces he performed in Cleveland three days prior to this letter. He was studying with Ivan Galamian and also with Josef Gingold during the summers at Galamian's summer music retreat, "Meadowmount". At this time also, Gingold was the Cleveland Orchestra's concertmaster under conductor George Szell who declared Rabin to be the greatest violin talent that had come to his attention in the previous 30 years.

Rabin autograph material, particularly this early, is extremely rare.

ALS-08567 $1,200.00

RICCI, Ruggiero (1918-2012) RICCI PHOTO TO HIS TEACHER LOUIS PERSINGER, signed "Ruggiero". November 28. 9.25" h x 6.75" w with total size in mat of 14.75" h x 12.25" w. Fine condition.

Ruggiero Ricci as a young boy in a sailor suit and patent leather shoes playing the violin. Inscribed in careful childish handwriting, "To my beloved Mr. Persinger. Hoping, someday, I may make him very happy. All my love, Ruggiero, Nov. 28, 1929."

Ricci started his studies at the age of 6, with Louis Persinger who was the concertmaster and assistant conductor of the San Francisco Symphony. Ricci gave his debut there at the age of ten, playing a formidable program of works by Vieuxtemps, Saint-Saens, Mendelssohn and Wieniawski, astounding the audience and starting him on the road to early stardom.

Ricci material, particularly early Ricci material, is extremely rare.

PHO-11225 $1,300.00

SARASATE, Pablo de (1844-1908) MANUSCRIPT OF “VIVA SEVILLA!”, signed and dated in pencil on the last page of music "San Sebastian / 21-9-95" / Sarasate". Inscribed in ink on the front page "A ma vielle ami Berthe Goldschmidt / P Sarasate, Paris 15-10-95". 15.5 pages + 4 blank on large folio music paper embossed on the upper left corner Lard-Esnault, Paris. Overall in excellent condition (the cover page a little soiled).

Autograph manuscript for violin and piano by the noted Spanish violinist Sarasate written in pencil, titled "Viva Sevilla!" on the cover in ink in Sarasate's hand. The cover apparently was originally intended as the first page of the work as there are six bars in the same key signature and key on the top staff under the title which have been crossed out. There are three additional bars in the middle of the page, also crossed out, and four bars at the bottom of the page (not crossed out). The work is scored for violin and piano in a fluid hand, with several corrections throughout in pencil in Sarasate's hand and on page 10, he has written a page-turn indication - "tournez" - in ink.

The manuscript was published in Berlin in 1896 as Op. 38. The inscription is to Berthe Marx-Goldschmidt, Sarasate's longtime accompanist.

Sarasate was renowned for his colorful violin playing as well as for the Spanish flavour in his compositions which strongly influenced many of his contemporary colleagues; Édouard Lalo dedicated his Symphonie Espagnole to Sarasate and Camille Saint-Saëns' Introduction and Rondo Capriccioso was written expressly for Sarasate and dedicated to him.

MAN-10434 $3,500.00

SARASATE, Pablo de (1844-1908) CABINET PHOTOGRAPH, SIGNED., signed on the verso "Pablo de Sarasate/Berlin 27-2-91". A little soiled. Light crack along trousers. Chipped at corners and along top edge.

The eminent Spanish violinist is shown standing in a dapper pose, holding a cigarette in a photograph by J. G. Schaarwächter of Berlin. PHO-12349 $150.00

SAUZAY SIGNED PORTRAIT ALSO SIGNED BY FLESCH Laid down with a total size of 7" h x 6" w. Fine condition.

A handsome heliographic portrait signed by French violinist and composer Eugène Sauzay (1809-1901) shown seated with his violin and bow. He has signed it "Eug Sauzay" beneath the picture. On the verso, his pupil, Carl Flesch has inscribed in pencil, in German, "My teacher in Paris, 1890-92, Carl Flesch".

Sauzay studied with Baillot, whose daughter he married, and became a member of his quartet. In 1840 he formed his own chamber music group with his wife, Louis-Pierre Norblin, Auguste Franchomme and Alexandre Pierre François Boëly. The Hungarian violinist Carl Flesch (1873-1934), well-known soloist and author, was also known as the teacher of many virtuosos including Ginette Neveu and Henryk Szeryng.

GPH-12087 $200.00

SCHNEIDER, Alexander (1908-1993) AUTOGRAPH LETTER, signed "your Sasha". 2 pp. on his New York letterhead. Excellent condition.

Exuberant, humorous letter from the eminent violinist announcing his new recording. Reads in part: "Extra, Extra, Extra! Today's Special - indispensable in every Household Family Companion call on your nearest Columbia Recordings Dealer and ask for the MM766 Album"…"you will find this just right for Breakfast, Lunch, Dinner after, before, in between, just perfect for the gift of the year!"

Alexander Schneider was a violinist, conductor, and educator. Born in Lithuania, he was a member of the Budapest String Quartet, prominent in the American music scene and a very close friend of many musicians, including Casals with whom he organized the Prague Music Festival.

ALS-12356 $135.00

SIVORI - A CARICATURE OF PAGANINI'S ONLY PUPIL Paris. In a double mat with a total size of c. 20" h x 14.5" w. Overall excellent condition (one miniscule blemish near hair).

A fine and very amusing caricature of the great Italian violinist, shown posing with his violin and bow. The lithograph is by the artist Etienne Carjat (1828-1906), known in particular for his fine caricatures. Sivori, considered one of the great violin virtuosos of the 19th century, was a student of Paganini's teacher Giacomo Costa and reportedly Paganini's only student. He collaborated with composers of his day, including Franz Liszt and played the first performance of Luigi Cherubini's "Requiem" in E minor. He owned many valuable instruments, including violins by Amati, Stradivari, Bergonzi, Chiocchi, and Jean Baptiste Vuillaume. His favourite was the Vuillaume violin, which he received from Paganini and which was an impeccably close copy of Paganini's famous "Cannone" Guarnerius.

GPH-11356 $400.00

STERN, Isaac (1920-2001) SIGNED ALFRED NEWMAN PHOTO. 11.34" h x 9.34" w; total size of photograph with margins is circa 14" h x 11" w. Matted, with a total size of 18.5" h x 11.25" w. Overall condition is very good, with minor dings and dents and a few creases.

A fabulous image of the one of the most famous violinists of the second half of the 20th century. Stern is shown in his studio, facing directly into the camera, holding his bow and 1737 Guarneri, the "Pennette" . This is an original print by Arnold Newman and is signed by him in pencil on the lower right under the image.

Photographs by the renowned American photographer Arnold Newman (1918-2006) are highly collectible and usually sell for up to $6,000 if in really fine condition. Since this is a less than perfect print, this is an opportunity to acquire an original Newman print at a very attractive price. Newman was particularly famous for his portraits of artists and politicians and is considered the first to use "environmental portraiture".

PHO-12437 $3,200.00

STRING QUARTET - OIL PAINTING "AMATEUR STRING QUARTET". 23" h x 28.25" w framed with a total measurement of 27.25" h x 32.5" w. Overall in very good condition.

An oil painting inspired by Eugene Ernest Hillemacher's "Un Quatuor d'Amateurs" from 1852. Although certainly the same subject, there are interesting differences: on the right side a mother, child and maid have been replaced with an upright piano, metronome and piano stool; the rug has a different pattern and there is no dog lying on it; on the left side on a table the vase, teapot, decanter and single glass have been replaced by one bottle of wine, three glasses and a corkscrew. Nonetheless, the artist shows the same charming group of local amateurs which include three musicians and the local priest playing the cello while the bust of Haydn, considered the father of the string quartet, still looks down from above at the players.

It has been said that the violist is the father of violinist Jacques Thibaud. It has also been said that one of the players is the composer Lalo. None of this has been verified.

GPH-12211 $3,500.00

SZIGETI, Joseph (1892-1973) Tribute to Szigeti. New York, 1986. No. 38 of Limited Edition of 50. Quarto. Numerous black and white photographs throughout. Black cardstock back with clear plastic cover showing Szigeti's portrait. Excellent condition.

Compiled and edited by Peggy Dufour in collaboration with Edith Jonas Levy. This tribute to the great Hungarian violinist includes a discography, a chronology and a full description of the tribute that took place in Carnegie Hall in 1983 on the 10th Anniversary of his death. BKS-11304 $150.00

THIBAUD, Jacques (1880-1953) SIGNED SEPIA PHOTOGRAPH, signed "Jacques Thibaud New York 19 December 1929". Inscribed "à Madame Louis Persinger and à mon cher Louis Persinger ma vraie amitié et…admiration sincere". Decoratively matted with a total size of 13.75" h x 11.5"w. A few minor flaws in the photo, overall very good.

The great violinist Jacques Thibaud inscribed this photo to his former pupil Louis Persinger and Persinger's wife.

Persinger is probably best known now as having been the concertmaster of the San Francisco Symphony and the teacher of Ruggerio Ricci and Yehudi Menuhin as child prodigies. He took over Leopold Auer's Juilliard class in 1930. After stints with Hans Becker and Ysaÿe, he studied with Jacques Thibaud for two summers, Thibaud being his elder by only seven years.

PHO-11224 $375.00

THIBAUD'S CONSERVATOIRE DE PARIS VIOLIN PRIZE c. 1893. Good condition. Gustave Bernardel was a Parisian violin maker long associated with the firm Gand et Bernardel, but who established his own company in 1892. He was an official "Luthier du Conservatoire" and presumably donated one of his instruments as first prize in the annual violin competition, from which this peg evidently came. The peg in turn was presented by the noted French violinist Jacques Thibaud, the original winner of the prize, to his student Louis Persinger. Louis Persinger has attached his visiting card to the peg and noted on the back, "Tone Prize Violin (Bernardel) presented to Jacques Thibaut when he received one of the first prizes for violin at the Paris Conservatoire (in 1893 or 94)."

Louis Persinger, now best-known as the teacher of the child prodigies Yehudi Menhuin and Ruggiero Ricci, himself studied with Ysaÿe and later with Jacques Thibaud, and later took over Leopold Auer's Juilliard classes in 1930.

ODA-11383 $985.00

VIEUXTEMPS, Henri (1820-1881) AUTOGRAPH LETTER, signed "H. Vieuxtemps", and also "H.V." in a postscript. Apr. 23, 1869. 8.25" h x 5.25" w. 3pp. of a folded sheet of mourning stationery with address on verso. Fine, except for small slice off extreme upper right corner & a few tiny tears on edges. With translation.

Letter to the music publisher Brandus instructing him to hand to the bearer of the letter (his daughter, Julia Vieuxtemps) the 600 francs forwarded by Mr. Bock of Berlin. In a lengthy full-page postscript (signed "H.V."), Vieuxtemps goes on to say: "The

Philharmonic Society has begun its series of concerts; the Musical Union its matinee concerts of chamber music in which I have taken part with Kapellmeister Reinecke of Leipzig and Jarll, as pianists. We produced with the latter, for the first time before a British audience, one of Raff's sonatas for piano and violin. This music, which is very advanced, has excited much curiosity and astonishment because of its daring rhythms and modulations. In short our experiment has been a success...." ALS-05530 $400.00

VIOLIN - IVORY MINIATURE Total length 5" x 1.75" at widest point of lower bout. Fine condition (1 string loose). Back is a bit discolored.

A fine ivory miniature violin, possibly French. Either very late 18th-century or early 19th-century. With ivory pegs, fingerboard, tailpiece and endbutton. INS-12385 $2,700.00

VIOLIN - SALESMAN'S SAMPLE VIOLIN TOP Total measurement of 14.5" h x 10.5" w. Fine condition.

Made in Germany, early 20th century. Mounted on velvet and framed in burled maple. A fascinating salesman's sample - small violin backs and tops like this one measuring just 9 inches in length were brought to violin dealers' establishments so they could order full-sized violins using these as examples.

ODA-10036 $750.00

VIOLIN AND CASE WITH A STORY! THE "JOHNNY REB" AN UNUSUAL PIECE OF AMERICANA RELATED TO THE CIVIL WAR.

John Parker, an English loom-maker who made violins as a hobby, came to America in 1857 and chose Philadelphia as his new home. At the outbreak of the Civil War, he enlisted as a musician in the navy. Well after the war he stopped making violins because of poor eyesight and at that time an article appeared in the Philadelphia Inquirer telling his story and that of one of his prized possessions, a violin he called the Johnny Reb, "...a little, flat dark-colored Stradivarius" [to other eyes, including ours, an ordinary 19th-century German violin]. As Parker told it:

"No, sir…I wouldn't think of parting with 'Johnny Reb'. That fiddle is rather unprepossessing in appearance, I will allow, but for tone it can't be beaten. Then, there is some little sentiment involved. How did I get it? Well, it's an interesting story. While we were on the Wabash, one of the boat's crew went over to Morris' Island one night. They ran across a squad of rebels who were having a gay time in camp. The soldiers were playing and singing, telling stories and dancing. Our crew routed them out. There were a few shots exchanged and the rebs finally took to their heels, leaving everything behind. One of the crew singled out this fiddle and brought it back to the Wabash. He knew that I was passionately fond of fiddles, and he gave it to me on the condition that I should play for him on it one hour every night for a week. Of course, I assented and that's how I got it. It is of Italian make, and fully 125 years old [Parker's assumption that the violin was a Stradivari was incorrect], and the tone - well, just listen to that…"

Sometime after the Civil War, Parker opened up his prized violin and wrote on the inside of the back in large capital letters: “THIS VIOLIN WAS CAPTEARD FROM THE REBBLES AT MORRICS IRLAND.S.C. 1863 WITH THE CREW FROM THE FLAGSHIP WABASH” [sic], as well as carving his insignia near the soundpost. At some point he also made a wonderful wooden case for the “Johnny Reb”, decorating it with mother- of-pearl inlays on the top in the shape of roses and acorns, bandings of inlays showing patterns of contrasting woods, and pasted cardboard picture cutouts on the inside of the pocket flaps depicting pretty girls, cows and lions! A brass plaque near the handle reads” “Made by J. Parker 1876” We were told that Parker had intended entering the case in the Centennial Exhibition in Philadelphia, hence the date – but he missed the entry date and it was ineligible for acceptance! We were also told that it was Parker who sprinkled rose petals on the inside of the case, kept there lovingly by his daughters and all the next owners.

Accompanying the “Johnny Reb” is the article from the Philadelphia Inquirer and a note from the last owner detailing its provenance.

INS-08325 $3,500.00

VIOLIN CHOCOLATE MOLD First half of 20th century. 4.50" h x 12.50" w (at widest point). Excellent condition.

A fun piece - an antique metal chocolate mold which turns out 8 little violins at one time! ODA-12382 $200.00

VIOTTI, Giovanni Battista (1755-1824) AUTOGRAPH LETTER, signed "G. B. Viotti". July 24, 1815. 1 p. of a small folded sheet. Excellent condition except for a vertical fold and toning.

A short letter in French sending the recipient two letters. The prominent violinist and composer Giovanni Battista Viotti was renowned for his virtuosity. He was also a director of French and Italian opera companies in Paris and London. Viotti letters are scarce.

ALS-12359 $375.00

YSAŸE, Eugène (1858-1931) BOOKLET FOR DINNER HONORING YSAŸE - SIGNED BY YSAŸE, KREISLER, ZIMBALIST & ELMAN. Overall very good with vertical crease.

A unique 5-page booklet for a dinner honoring the great Belgian violinist Eugene Ysaÿe, measuring 9" h x 7" w. Vertical crease but otherwise in excellent condition with its original ribbon. The dinner was given by "The Bohemians" on December 22, 1912.

The cover is signed in pencil by many who attended, including officers of the Club and musicians such as the pianist Rubolph Ganz and the singer Albert Reiss. The last page has the menu. In the middle is a full-page portrait of Ysaÿe, shown holding his violin. The image bears Ysaÿe's signature and is dated the same date as the dinner. Surrounding the portrait are original pencilled signatures of Fritz Kreisler, Eugene Ysaÿe, Efrem Zimbalist and Mischa Elman. A rare occurrence for these great violinists to be gathered together.

Eight days after this dinner, Ysaÿe gave a recital with the pianist Camilee de Cerus in which Ysaÿe plays a variety of short works including one of his own Mazurkas. The recital was recorded at the Columbia Studios in New York.

"The Bohemians" is a Music Club that has been in active continuous existence since its foundation in the late 19th century.

EPH-12191 $670.00

` YSAŸE, Eugène (1858-1931) SIGNED CABINET PHOTOGRAPH. 1900. Matted with a total size of 12.5" h x 10.5" w. One pinhole at center of top edge but overall excellent condition.

A splendid early cabinet photograph showing the great Belgian violinist Ysaÿe in concert dress holding his bow and violin and standing before his violin case over which is draped an American flag. He has penned on one side "Vive L'Amérique!!! - Souvenirs d'Ysaÿe" and dated it "28-9bre 1900".

Ysaÿe made many trips to America including a long stay when he was the Conductor of the Cincinnati Symphony Orchestra (1918-1922).

PHO-11300 $1,200.00

YSAŸE, Eugène (1858-1931) YSAŸE WITH MARSICK, MASSART AND THOMSON. Liège, 1887. 4.5 " h x 6" w in mat with total size of 10.5" h x 12.25" w. Laid down on cardboard which shows former traces of mounting (not visible in mat). The photo itself is excellent.

A rare photo from a most unusual event which took place at the Liege Conservatory, Belgium in 1887. The conservatory had moved to a new building, and for the occasion the students and faculty gave a performance of a concerto written for four violins by Ludwig Wilhelm Maurer. The four faculty members who performed are shown here, from left to right: Martin Marsick, Joseph Lambert Massart, Cesar Thomson and Eugène Ysaÿe. Ludwig Wilhelm Maurer (1789-1878) was a German violinist and composer who lived extensively in Russia. He wrote the Sinfonia Concertante for Four Violins in a minor, Op. 55.

PHO-11297 $250.00